Variety (Mar 1927)

16 VARIETY FILM REVIEWS Wednesday, March 16, 1927 THE LOVE OF SUNYA United Artists release produced by the Bwensun Producing Corp. starring (Jlnria a)wanaon. l-'i.un the screen atory by Karle Browne baaed on the Charles Uunrnon and Max Marctn play, "The Kyea of Youth." Directed by Albert Tarker. At the Itoxy. New York, week beitinnlnir March 12. Run- ning time 7*J mtnulea. Oaat, Gloria Swan- am, John Bolea, Raymond Hackett, Rob- ert Schable. Flohelle Fairbanks, Anders Randolf, Pauline Garon, Ian Keith, Andrea De Segurola. John Mlltern, Hugh Miller, Jvan Lebedeff and Forreat Huff, For her first release under the di- rection of United Artists, Gloria Swanson chose to make a new screen version of "The Efc'es of Youth." It originally served as a film starring role for Clara Kimball Young about eight years ago. That was at the time that C. K. Y. was supposed to be about washed up in the picture business, but the role of that picture brought her back with a bang. As much cannot be said for Miss Swanson, for this picture proves to be an extremely draggy affair, even though the star personally achieves a triumph in her characterization. The part gives her every oppor- tunity to mako good and she does so with a vengeance. But the pic- ture Is not what could be honestly termed a box office knockout. It Is doubtful what It will do in its second week at the big new Ro.xy where world's records were shat- tered during the first two days of business. There has been little change In the story of the heroine of "The Eyes of Youth," who through the medium of a reincarnated Hindoo priest and the crystal that he bears enables her to see what the future holds In stpre for her In the event that she chooses either of two men with whom to spend her life. The girl Is really In love with a young man but holds ambitions to become a great singer and the opportunity is offered her. At the same time her family Is In financial difficulties and her father seeks to marry her off to a man of wealth. The ques- tion is which of the three men will she choose. The crystal first reveals her ca- reer as a singer being exploited by the Impresario and living the life of a demi-mondaine with he reap- ing the profit while she pays as a woman Is supposed to, with un- happiness and being compelled to see the man she really loves shot down before her eyes when the bul- let is intended for him who has been exploiting her. The second sequence shows what she would endure as the wife of the wealthy man who would tire of her after Ave years for a flapper who would lead him to frame her so that a divorce could be obtained. Here she is shamed and without friends, wandering the streets an outcast. The dope portion of this that was in the original has been omitted. Then having seen the end of both of these paths the girl turns to her young lover in defiance of her fa- ther's wishes. Nothing about the picture which makes it unusual except the direc- tion and the corking performance by the star. The supporting cast Is adequate with De Segurola stand- ing out in the role of the impresario. Albert Parker got some corking shots with his direction, but the picture should have been edited with more of an eye to speed of action. The slow tempo makes It appear as though the picture was two hours In length, while In reality it Is about an hour and 15 minutes lh showing. Fred. TESTIMONIAL ABSTRACTS FROM ORGANISTS: DU8TY RHODES: "Thanks for the Life Savers." PHIL FABELLO: "Will add laurels to any organ or band presen- tation." ED WEAVER: "Murtagh says your sets are knockouts; send on four.7 FLOYD KENDALL: "Worth twenty-five dollars of any organist's salary, for their prestige." FROM MANAGERS: CHA8. OOULDING, Proctor's, Troy, New York: "Will use two sets a.week." . C. C. PIPPIN, Strand, Pa.: "Biggest hits I have ever had In my theatre." THE ORGANISTS' NOVELTY CLUB Organized to Give You the Best in Original Song Slide Novelties 117 WEST 46TH STREET NEW YORK CITY METROPOLIS UFA production, German mude. releaaed moua Playi through Famous Playere-Laaky. No player starred or featured In American presenta- tion. Without press aheet aa yet available, technical Information not at hand. Opened at RJalto (PubUx). New York, March 3, Indefinitely. Running time, 107 minutes. John Maatennan , Alfred Abel Erk\ bis son Guatav Froellch Rotwang, the Inventor..Rudolf Kleln-Rogge Joseph Theodor Looa No. T Ueinrlch George Mary Brlgitte Helm "Metropolis" has mass appeal over here, but without class appeal of any character. It's a weird story, visionary all of the time, without any degree of unusual imagination and ofttlmes monotonous. Withal, a puzzling film that might deceive the must expert picture showman, either way. Yet It holds something that holds the picture audience and will draw to a picture house. That may be Its weirdness or Its production or photography or sub- ject matter of 100 years hence or so, or its attempted masslveness of scenes—or that It reels off like a Henry Ford dream—mechanical— human labor of the future. Without a press sheet exactly what Is striven for must be doped out. It appears to be that the me- chanical can never wholly substi- tute for the human labor, nor must Capital entirely exhaust its work- ing people or that the human physi- cal elements may never be me- chanically transposed. These things will fling an ordi- nary picture audience at their limi- tations into a turmoil of thought, meanwhile held to some suspense by the supposed vastness of it all; big machinery halls, the huge crowds of labor people; mythical ultra-mod- ern city of 100 years hence with Its underground living abode for the laborers, or the perpetual lock step with its dirge that runs throughout the film. After all of this for the serious aide and before the picture has been running; very long one is inclined to laugh at Its plain absurdities, its open face scheme of story and the merciless persecution of poor Mary. Mary is probably the most chased girl of the screen. They chased her everywhere every minute, up alleys, into rooms, over roofs and what not. It Mary saw a chance to escape the open door closed just before ■he reached it. The only thing muffed was a blackface comedian to get the laughs in this stupendous scene of a "Haunted House." And Eric, the son of his father, who went down Into the subter- raanean town for the first time in his 20 years to see the village and Mary. Caught by the skirt as he was wrangling with some vamps In burlesque wheel costumes, Eric fell for the dame. That was Mary, also about 20 and the first time she ever had seen Inside of a two-story home. Mary had large blue eyes. Someone had told her to stare and plenty! Mary did. Down in the village to which the workmen went In elevators holding 1,000 people or more, from appear- ances, Mary was a sort of Almee McPherson evangelist without the scandal. Mary preached peace, be- fore and after she landed Eric (a much better German name than John, for a young chaser). But Erie wasn't Mary's only chaser. The other was Rotwang, an Inventor. After be had perfected Metropolis as a one-man. town be- longing to John Masterman, Rot- wang, who looks like David Belasco did 15 years ago, started to pull the final surprise upon his Masterman. He had fashioned a human figure of metal. All required was to get his lights working properly,.to send or pour any human he pleased into the figure—and he selected Mary, but before capturing Mary, Rot had to chase her about 18 miles of hall- ways. He put everything of Mary's into the figure, excepting Mary's peace loving soul, but a caption said a soul couldn't be placed Into steel, probably having in mind a few the- atrical managers. So when the No. 2 Mary came forth, she was a hell- raiser, preached, socialism to the workmen and started the machinery going the wrong way. It led to a flood, to the workmen going upstairs, to the real Mary saving the children, to Eric getting his Mary and to the Masterman tak- ing a tumble to himself. In all of this la trick photography and trick production. Probably there never has been a picture made with so much seemingly trick pro- duction stuff. Nothing appears to be on the level In this film. In the trick photography is one bit of swirling electric lights that can't be figured out by any method. In the production end seems to be several massive sets that either were magnified from miniatures or drawn as sketches and vitalized. The impossible unison of the move- ments of humans suggests this. In any event the effect Is big for the IT percenters. But the photography of "Metropolis" does hot compare with that of "Variety," which it slightly suggests, although the pro- duction end here lies over the other like a tent, whether it's faked cr no. A letter recently received by Va- riety (this paper) and written by the Aktlegesellschaft fur Spiegel - technik of Berlin advised that In the UFA picture "Metropolis," shortly to be shown In New York, appeared 13 scenes of the firm's system called the Schufftan Process. No one in New York who could be reached had heard of the Schufftan System. It may be like the "Valley of the Lepers" In "Ben-Hur." But Metropolis" appears to have some sort of a process Introduced to make the immensity of the effect or to aid it. In much the same way pictures have found how to multiply crowds, as must have been done here also. At times the crowds look enormous. But "Metropolis" will make the commoners talk If no more than to say, "You must see that crazy pic- ture." From understanding the German version was a pretty clumsy affair. Over here and especially recut bv Channing Pollock, there Is quite good continuity, as far as that could be gotten, while Mr. Pollock's cap- tions have a dignity In language and phrasing that lends greatly to the Im press!veness. Without lm- presslveness this picture would have to fall down because of Its blooeyness. Brlgltee Helm as Mary did .nicely in acting when assuming the No. 2 dual role. That forced her to the other extreme of expression. Alfred Abel as the boss of the works did well the cold, stern driver of men and money. Guslav Froellch, the son, had a heavy part he played lightly for value and must have been selected for his juvenile ap- pearance. Theodor Loos was Jo- seph or No. 7, probably Joseph, and with plenty of beard. He made It resemble Russian more than Ger- man, also beating off a mob of sev- eral thousand, as did Eric at one time. How those Germans, single handed, can handle mad mobs la pictures Is pretty close to a mirth- ful miracle. For UFA to say this picture cost almost $2,000,000, If not meaning marks, sounds like the bologna, un- less the actors got It or the processes were unusually expensive. It la more easily believable that the pic- ture was comparatively cheap for the eyeful results obtained. Some sex stuff here and there and a cooch dancer! Yes, air, a, coocher. In the revlgorated me- chanical figure, and a pretty good coocher, too, but not so thick around the hips as German coochers gen- erally are. But then you must re- member that this young lady was made to order. Houses that played "Variety" won't miss with "Metropolis." It'a No. gentle reader, the above la nol Marlon Talley (but she ainga as sweetly). It la not Marie Saxon (bnt she dancea aa gracefully). It la not Mae Murray (but she dreams aa beautifully). It la not Annette Kel- lerrnan (but her figure is as perfect). IT 18— DONNA DARLING OF THIS Donna. Darling Revue THIS WEEK. STATE, RAUQGH, N. C, and GRAND, MACON, OA. Thanks to JULES DKI.MAR P. 8.: Yes, Sir, She's My Baby SAMMY CLARK Watch This Space Every Week MARGARET NcKEE ("MICKEY" OF ROXY'S GANG) , and Singer of Bird Song* ions "Roxy" on Appearing this THE ROXY, NEW YORK ISABEL BROWN ACROBATIC DANCER (of the Herman and De Muth School) WITH "THE PAPER REVUE" This Week (March 14), Capitol, Detroit Next Week (March 21), Chicago, Chicago Week March 28, Uptown, Chicago Week April 3, Tivoli, Chicago COMEDY ECCENTRIC DANCERS BUDDY JIMMIE WILLIAMS and ROSS Funniest Comedy Dancing Team Playing the Picture Houses PLAYING BALABAN * KATZ WONDER THEATRE8, CHICAGO — Representative — MRS. A. K. It KN 1)1 K MARIA ("Gamby") Prima Ballerina , NEW YORK f. 1 —Clad (o be with you again, "Roxy." I»«-»if tit t * o>i , >.-.»; »\ Ol MO" ■ 1 • i ' ' I I ) •.*•>«*/ > t * I